Jaap van Zweden Conducts: A Glimpse of the Future | What's New: Latest News and Stories About The New York Philharmonic
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Due to scheduled maintenance, online accounts, ticket purchases, and donation pages are currently unavailable. For immediate assistance contact Customer Relations at (212) 875-5656 or customerservice@nyphil.org.

Jaap van Zweden Conducts: A Glimpse of the Future

Posted November 18, 2016

Philharmonic audiences got a glimpse of the future when Jaap van Zweden (who will become Music Director in the 2018–19 season, after serving as Music Director Designate 2017–18), led the New York Premiere–Philharmonic Co-Commission of 28-year-old Julia Adolphe’s Unearth, Release, with Principal Viola Cynthia Phelps as soloist, plus Tchaikovsky’s Fourth Symphony and Wagner’s Prelude to Act I of Lohengrin.

The crowd and the critics went wild. Here are some highlights:

“Mr. van Zweden drew sensitive, confident and colorful playing from the Philharmonic. ... he drew out the shifting strands of the music with striking clarity and a clear sense of direction. … He balanced poignancy and gravity in his rich-textured account of [Julia Adolphe’s Unearth, Release].” — The New York Times

“His rapport with the players is already keenly palpable and, in the Tchaikovsky warhorse on the program’s second half, positively electrifying. … an epic journey, precision engineered to underscore the vitality of Tchaikovsky’s vision.” — Musical America

“A superb technician with crystalline intentions, van Zweden seemed most at home laying down a covering barrage of brass or catapulting into a big crescendo. But the New York premiere of Julia Adolphe’s viola concerto Unearth, Release also proved that he’s no slouch with a glimmering pianissimo or a complex new score. … In Wagner’s Lohengrin overture, he coaxed the strings to unspool the endless melody as in a single, ten-minute exhalation.” — Vulture

“An intelligent but emotional, sonically rich performance of Tchaikovsky’s Fourth Symphony” — New York Classical Review

“Both musicians and audience seemed galvanized by his presence throughout all three pieces.” — Bachtrack